Category Archives: Video Art

Cinémathèque Internationale of Philadelphia (CIP), an aspiring institute for international film and video art run by a group of young volunteers, will host Time and Space Landscapes Dec. 9, 2011 through Jan. 20, 2012.

CIP is looking for international artists who specialize in or have special projects in new media, video or film (specifically, investigations of the technology itself) on the topic of time, space, and The Landscape. The group video exhibition will highlight recycled — new and old — technology to explore concepts of time and space, and the manipulated perception of The Landscape. This exhibition confronts this method of construction and explores the interpretation of something “real,” as in “a place.”

Artists interested in participating must submit by Saturday, Oct. 15. Chosen works will be announced Tuesday, Nov. 1.

Although submission is open to all countries, only twenty-five percent of the selected works will be accepted from the US artists.
CIP is not accepting any installations or performance pieces. However, video documentation of performances or installations will be considered. Please inquire about specific audio options.

Include in your dossier:
• Maximum of three video submissions per person/group, which are no longer than 20 minutes per video.
• Short artist statement
• Curriculum Vitae
• Completed application form.

J’entends les trains depuis toujours / I keep hearing the trains for ever, is a three-part video exhibition by French artist Tania Mouraud. The project, presented by the Philadelphia International Festival of the Arts (PIFA), will be on display in April and May 2011 and is curated by Marie-Claire Groeninck and Jean-Michel Rabaté. The three exhibitions are being presented by the Philadelphia Art Alliance, Slought Foundation and the Kimmel Center for the Performing Arts.

The exhibition J’entends les trains depuis toujours concentrates on Tania Mouraud’s videos and video installations, a medium that she has tackled for the last decade. These pieces further address the sensory concerns she began to explore in the earlier stages of her career. The choreography of the moving images and the sound composition pit their strength against the walls. The viewer’s perception is dissected into the volume of the exhibition space, as the borderline between figuration and abstraction is at stake.